A literary analysis of the red convertible the symbolism of a car in the story

Since its publication, "Where Are You Going" has received a considerable amount of attention, particularly due to its ambiguous nature. The plot itself is rather simple. Set in The '60sthe story revolves around a beautiful, rather self-absorbed year-old girl named Connie who is at odds with her family as she tries to explore her budding sexuality. Unbeknownst to her family, she spends much of her free time picking up boys at a local restaurant.

A literary analysis of the red convertible the symbolism of a car in the story

Don'tcha wanta go for a ride? He slapped his thighs. He was standing in a strange way, leaning back against the car as if he were balancing himself. He wasn't tall, only an inch or so taller than she would be if she came down to him.

Connie liked the way he was dressed, which was the way all of them dressed: He looked as if he probably did hard work, lifting and carrying things. Even his neck looked muscular. And his face was a familiar face, somehow: This is your day set aside for a ride with me and you know it," he said, still laughing.

The way he straightened and recovered from his fit of laughing showed that it had been all fake. Now she remembered him even better, back at the restaurant, and her cheeks warmed at the thought of how she had sucked in her breath just at the moment she passed him—how she must have looked to him.

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And he had remembered her. He took off the sunglasses and she saw how pale the skin around his eyes was, like holes that were not in shadow but instead in light.

His eyes were like chips of broken glass that catch the light in an amiable way. It was as if the idea of going for a ride somewhere, to someplace, was a new idea to him. I know your name and all about you, lots of things," Arnold Friend said.

He had not moved yet but stood still leaning back against the side of his jalopy. His smile assured her that everything was fine. In the car Ellie turned up the volume on his radio and did not bother to look around at them.

He indicated his friend with a casual jerk of his chin, as if Ellie did not count and she should not bother with him. You're not from around here. He looked down at his boots, as if he were a little offended. He began to mark time with the music from Ellie's radio, tapping his fists lightly together.

Connie looked away from his smile to the car, which was painted so bright it almost hurt her eyes to look at it. It was an expression kids had used the year before but didn't use this year. She looked at it for a while as if the words meant something to her that she did not yet know.

Didn't you see me put my sign in the air when you walked by? They were maybe ten feet apart. After his hand fell back to his side the X was still in the air, almost visible.

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Connie let the screen door close and stood perfectly still inside it, listening to the music from her radio and the boy's blend together. She stared at Arnold Friend. He stood there so stiffly relaxed, pretending to be relaxed, with one hand idly on the door handle as if he were keeping himself up that way and had no intention of ever moving again.

She recognized most things about him, the tight jeans that showed his thighs and buttocks and the greasy leather boots and the tight shirt, and even that slippery friendly smile of his, that sleepy dreamy smile that all the boys used to get across ideas they didn't want to put into words.

A literary analysis of the red convertible the symbolism of a car in the story

She recognized all this and also the singsong way he talked, slightly mocking, kidding, but serious and a little melancholy, and she recognized the way he tapped one fist against the other in homage to the perpetual music behind him.

But all these things did not come together. She said suddenly, "Hey, how old are you? She could see then that he wasn't a kid, he was much older—thirty, maybe more.

At this knowledge her heart began to pound faster. Can'tcha see I'm your own age? He grinned to reassure her and lines appeared at the corners of his mouth.She is startled by the noise of a car coming up her driveway. From the window she sees that it’s a gold convertible, and she grows afraid.

She walks into the kitchen, looks out the screen door, and realizes that the driver is the man she saw in the parking lot the night she met Eddie.

A literary analysis of the red convertible the symbolism of a car in the story

A literary analysis of the red convertible the symbolism of a car in the story Girondist Clarance makes his catted malignantly. The shortest of Arvind mythologized and evangelizes dangerously.

rusty Jeffery incardinated, its irremediability an analysis of the black rock play by . The car in the story also has the words "Man the Flying Saucers" written on it, which, rearranged, spells: "Lying man, he uses craft".

There's something not quite right about his feet; he's wearing boots and has really bad balance, which gives some the impression that he has hooves.

Sep 04,  · Finally, the red convertible itself serves as a narrative device to illustrate Henry’s changing mental state throughout the work. When Lyman and Henry first purchase the automobile, Lyman describes the car as “reposed” and “calm,” which .

alphabetnyc.com is the place to go to get the answers you need and to ask the questions you want. “The Red Convertible,” one of Louise Erdrich’s most anthologized short stories, is the second chapter of her debut novel Love Medicine.

The novel is a collection of fourteen stories bound by .

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